Restricted Access Note
The following are restricted to current Warner University students, faculty, and staff.
Log-in: Warner email account.
A City Called Heaven: Chicago and the Birth of Gospel Music
Publication Date: 2015-03-03
In A City Called Heaven, gospel announcer and music historian Robert Marovich shines a light on the humble origins of a majestic genre and its indispensable bond to the city where it found its voice: Chicago. Marovich follows gospel music from early hymns and camp meetings through the Great Migration that brought it to Chicago. In time, the music grew into the sanctified soundtrack of the city's mainline black Protestant churches. In addition to drawing on print media and ephemera, Marovich mines hours of interviews with nearly fifty artists, ministers, and historians--as well as discussions with relatives and friends of past gospel pioneers--to recover many forgotten singers, musicians, songwriters, and industry leaders. He also examines how a lack of economic opportunity bred an entrepreneurial spirit that fueled gospel music's rise to popularity and opened a gate to social mobility for a number of its practitioners. As Marovich shows, gospel music expressed a yearning for freedom from earthly pains, racial prejudice, and life's hardships. In the end, it proved to be a sound too mighty and too joyous for even church walls to hold.
Bad Boy of Gospel Music: The Calvin Newton Story
Publication Date: 2003-07-11
"I messed up," Calvin Newton lamented, after wasting thirty years and doing time in both state and federal prisons for theft, counterfeiting, and drug violations. "These were years of my life that I could have been singing gospel music." During his prime, he was super-handsome, athletic, and charged with sexual charisma that attracted women to him like flies to honey. Atop this abundance was his astounding voice, "the voice of an angel." This book is his prodigal-son story. Audacious, Newton never turned down a dare, even if it meant climbing on the roof of a speeding car or wading into a freezing ocean. As a boy boxer, he was a Kentucky Golden Gloves champ who k.o.'ed his opponent in twenty-three seconds. By his late teens he had been recruited by the Blackwood Brothers, the number-one gospel quartet in the world. In his mid-twenties while he was singing Christian songs with the Oak Ridge Quartet, Newton's mighty talent and movie-star looks took him deep into hedonism--reckless driving, heavy romancing, and addictive pill popping. As 1950s rock 'n' roll began its invasion of gospel, he and two partners formed the Sons of Song, the first all-male gospel trio. Long before the pop sound claimed contemporary Christian music, the Sons of Song turned gospel upside down with histrionic harmony, high-styled tuxedos, and Hollywood verve. Their signature song, "Wasted Years," foreshadowed Newton's punishing fall. This biography looks back at the destructive lifestyle that wrecked a sparkling career. When well into his sixties, Newton turned his life around and was able to confront his demons and discuss his prodigal days. He talked extensively with Russ Cheatham about his self- destruction and the great personal expense of his own bad-boy choices and late redemption. In this candid biography, one of gospel's all-stars discloses a messed-up life that vacillated between achievement and failure, fame and infamy, happiness and grief.
Downhome Gospel: African American Spiritual Activism in Wiregrass Country
Publication Date: 2010-10-05
Jerrilyn McGregory explores sacred music and spiritual activism in a little-known region of the South, the Wiregrass Country of Georgia, Alabama, and North Florida. She examines African American sacred music outside of Sunday church-related activities, showing that singing conventions and anniversary programs fortify spiritual as well as social needs. In this region African Americans maintain a social world of their own creation. Their cultural performances embrace some of the most pervasive forms of African American sacred music--spirituals, common meter, Sacred Harp, shape-note, traditional, and contemporary gospel. Moreover, the contexts in which they sing include present-day observations such as the Twentieth of May (Emancipation Day), Burial League Turnouts, and Fifth Sunday. Rather than tracing the evolution of African American sacred music, this ethnographic study focuses on contemporary cultural performances, almost all by women, which embrace all forms. These women promote a female-centered theology to ensure the survival of their communities and personal networks. They function in leadership roles that withstand the test of time. Their spiritual activism presents itself as a way of life. In Wiregrass Country, "You don't have to sing like an angel" is a frequently expressed sentiment. To these women, "good" music is God's music regardless of the manner delivered. Therefore, Downhome Gospel presents gospel music as being more than a transcendent sound. It is local spiritual activism that is writ large. Gospel means joy, hope, expectation, and the good news that makes the soul glad.
Great God a'Mighty! the Dixie Hummingbirds: Celebrating the Rise of Soul Gospel Music
Publication Date: 2003-02-06
From the Jim Crow world of 1920s Greenville, South Carolina, to Greenwich Village's Cafe Society in the '40s, to their 1974 Grammy-winning collaboration on "Loves Me Like a Rock," the Dixie Hummingbirds have been one of gospel's most durable and inspiring groups. Now, Jerry Zolten tells the Hummingbirds' fascinating story and with it the story of a changing music industry and a changing nation. When James Davis and his high-school friends starting singing together in a rural South Carolina church they could not have foreseen the road that was about tounfold before them. They began a ten-year jaunt of "wildcatting," traveling from town to town, working local radio stations, schools, and churches, struggling to make a name for themselves. By 1939 the a cappella singers were recording their four-part harmony spirituals on the prestigious Deccalabel. By 1942 they had moved north to Philadelphia and then New York where, backed by Lester Young's band, they regularly brought the house down at the city's first integrated nightclub, Cafe Society. From there the group rode a wave of popularity that would propel them to nation-wide tours, majorrecord contracts, collaborations with Stevie Wonder and Paul Simon, and a career still vibrant today as they approach their seventy-fifth anniversary. Drawing generously on interviews with Hank Ballard, Otis Williams, and other artists who worked with the Hummingbirds, as well as with members James Davis, Ira Tucker, Howard Carroll, and many others, The Dixie Hummingbirds brings vividly to life the growth of a gospel group and of gospelmusic itself.
Kennedy's Blues: African-American Blues and Gospel Songs on JFK
Publication Date: 2007-07-25
Kennedy's Blues: African American Blues and Gospel Songs on JFK collects in a single volume the blues and gospel songs written by African Americans about the presidency of John F. Kennedy and offers a close analysis of Kennedy's hold upon the African American imagination. These blues and gospel songs have never been transcribed and analyzed in a systematic way, so this volume provides a hitherto untapped source on the perception of one of the most intriguing American presidents. After eight years of Republican rule the young Democratic president received a warm welcome from African Americans. However, with the Cold War military draft and the slow pace of civil rights measures, inspiration temporarily gave way to impatience. Dr. Martin Luther King, Jr., Medgar Evers, the March on Washington, the groundbreaking civil rights bill--all found their way into blues and gospel songs. The many blues numbers devoted to the assassination and the president's legacy are evidence of JFK's near-canonization by African Americans. Blues historian Guido van Rijn shows that John F. Kennedy became a mythical hero to blues songwriters despite what was left unaccomplished. Guido van Rijn is teacher of English at Kennemer Lyceum in Overveen, the Netherlands. His previous books include The Truman and Eisenhower Blues: African American Blues and Gospel Songs, 1945-1960.
Mek Some Noise Gospel Music and the Ethics of Style in Trinidad.
Publication Date: 2007-04-11
"Mek Some Noise", Timothy Rommen’s ethnographic study of Trinidadian gospel music, engages the multiple musical styles circulating in the nation’s Full Gospel community and illustrates the carefully negotiated and contested spaces that they occupy in relationship to questions of identity. By exploring gospelypso, jamoo ("Jehovah’s music”), gospel dancehall, and North American gospel music, along with the discourses that surround performances in these styles, he illustrates the extent to which value, meaning, and appropriateness are continually circumscribed and reinterpreted in the process of coming to terms with what it looks and sounds like to be a Full Gospel believer in Trinidad. The local, regional, and transnational implications of these musical styles, moreover, are read in relationship to their impact on belief (and vice versa), revealing the particularly nuanced poetics of conviction that drive both apologists and detractors of these styles. Rommen sets his investigation against a concisely drawn, richly historical narrative and introduces a theoretical approach which he calls the "ethics of style"--a model that privileges the convictions embedded in this context and that emphasizes their role in shaping the terms upon which identity is continually being constructed in Trinidad. The result is an extended meditation on the convictions that lie behind the creation and reception of style in Full Gospel Trinidad. Copub: Center for Black Music Research
Nothing but Love in God's Water, Volume I: Black Sacred Music from the Civil War to the Civil Rights Movement
Publication Date: October 2014
The first of two volumes chronicling the history and role of music in the African American experience, Nothing but Love in God’s Water explores how songs and singers helped African Americans challenge and overcome slavery, subjugation, and suppression. From the spirituals of southern fields and the ringing chords of black gospel to the protest songs that changed the landscape of labor and the cadences sung before dogs and water cannons in Birmingham, sacred song has stood center stage in the African American drama. Myriad interviews, one-of-a-kind sources, and rare or lost recordings are used to examine this enormously persuasive facet of the movement. Nothing but Love in God’s Water explains the historical significance of song and helps us understand how music enabled the civil rights movement to challenge the most powerful nation on the planet.
Prolongation of Seventh Chords in Tonal Music
Publication Date: 2011-03-08
Prolongation of seventh chords is an intriguing phenomenon that theoretically ought not to exist. Schenkerian theory is based on the premise that prolongations apply to consonances alone, and the violation of this principle has far-reaching consequences. Yet, dissonances in general and seventh chords in particular are occasionally prolonged in traditional tonal music. This issue remains among the thorniest in all theoretical discourse on tonal music and also might have crucial consequences on the application of Schenkerian theory to post-tonal music. While individual cases have long been noted, this book offers for the first time a systematic survey of the entire spectrum of contrapuntal-harmonic configurations that enable the prolongation of seventh chords, arranged logically by seventh-chord type and voice-leading procedure
Singing in My Soul: Black Gospel Music in a Secular Age.
Publication Date: 2004-04-19
Black gospel music grew from obscure nineteenth-century beginnings to become the leading style of sacred music in black American communities after World War II. Jerma A. Jackson traces the music's unique history, profiling the careers of several singers--particularly Sister Rosetta Tharpe--and demonstrating the important role women played in popularizing gospel. Female gospel singers initially developed their musical abilities in churches where gospel prevailed as a mode of worship. Few, however, stayed exclusively in the religious realm. As recordings and sheet music pushed gospel into the commercial arena, gospel began to develop a life beyond the church, spreading first among a broad spectrum of African Americans and then to white middle-class audiences. Retail outlets, recording companies, and booking agencies turned gospel into big business, and local church singers emerged as national and international celebrities. Amid these changes, the music acquired increasing significance as a source of black identity. These successes, however, generated fierce controversy. As gospel gained public visibility and broad commercial appeal, debates broke out over the meaning of the music and its message, raising questions about the virtues of commercialism and material values, the contours of racial identity, and the nature of the sacred. Jackson engages these debates to explore how race, faith, and identity became central questions in twentieth-century African American life.
Singing the Glory Down: Amateur Gospel Music in South Central Kentucky, 1900-1990.
Publication Date: 1991-09-12
In Singing the Glory Down, William Lynwood Montell contributes to a fuller understanding of twentieth-century American culture by examining the complex relationships between gospel music and the culture of the nineteen-county study area in which this music has flourished for a hundred years. He has recorded the memories and feelings of those who were young while the movement gathered steam and who remember it at its high point, and stories about those who have passed over that river about which they loved to sing. In the early 1900s, a singing school or gospel convention was a major social event that enticed people to walk for miles to learn to sing or to hear someone who already had. The shape-note teachers of those days conducted days or even weeks of nightly practice, which culminated in a performance that confirmed the teacher's skill. Quartet music originated in these settings. Today, some area quartets still sound much like those early groups; others teach themselves to sing by imitating their favorite professional gospel ensembles.They travel every weekend in buses emblazoned with the names of their groups, with tapes and albums to sell. Through all the changes, the four-part southern harmony of Kentucky gospel music has remained the same. In the words of these performers, through letters, diaries, and interviews, Montell details the attitudes and joys of those involved most deeply in the gospel music scene. He also brings the reader into their personal relationships, their professional jealousies, and their struggles to keep alive the music they love.
The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church.
Publication Date: 1994-06-23
Most observers believe that gospel music has been sung in African-American churches since their organization in the late 1800s. Yet nothing could be further from the truth, as Michael W. Harris's history of gospel blues reveals. Tracing the rise of gospel blues as seen through the career ofits founding figure, Thomas Andrew Dorsey, Harris tells the story of the most prominent person in the advent of gospel blues. Also known as "Georgia Tom," Dorsey had considerable success in the 1920s as a pianist, composer, and arranger for prominent blues singes including Ma Rainey. In the 1930s he became involved in Chicago's African-American, old-line Protestant churches, where his background in the blues greatlyinfluenced his composing and singing. Following much controversy during the 1930s and the eventual overwhelming response that Dorsey's new form of music received, the gospel blues became a major force in African-American churches and religion. His more than 400 gospel songs and recent Grammy Awardindicate that he is still today the most prolific composer/publisher in the movement. Delving into the life of the central figure of gospel blues, Harris illuminates not only the evolution of this popular musical form, but also the thought and social forces that forged the culture in which thismusic was shaped.
Then Sings My Soul: The Culture of Southern Gospel Music.
Publication Date: 2012-05-04
In this ambitious book on southern gospel music, Douglas Harrison reexamines the music's historical emergence and its function as a modern cultural phenomenon. Rather than a single rhetoric focusing on the afterlife as compensation for worldly sacrifice, Harrison presents southern gospel as a network of interconnected messages that evangelical Christians use to make individual sense of both Protestant theological doctrines and their own lived experiences. Harrison explores how listeners and consumers of southern gospel integrate its lyrics and music into their own religious experience, building up individual--and potentially subversive--meanings beneath a surface of evangelical consensus. Reassessing the contributions of such figures as Aldine Kieffer, James D. Vaughan, and Bill and Gloria Gaither, Then Sings My Soul traces an alternative history of southern gospel in the twentieth century, one that emphasizes the music's interaction with broader shifts in American life beyond the narrow confines of southern gospel's borders. His discussion includes the "gay-gospel paradox"--the experience of non-heterosexuals in gospel music--as a cipher for fundamentalism's conflict with the postmodern world.
Hip Hop and Rap
Book of Rhymes: The Poetics of Hip Hop
Publication Date: 2009-02-24
If asked to list the greatest innovators of modern American poetry, few of us would think to include Jay-Z or Eminem in their number. And yet hip hop is the source of some of the most exciting developments in verse today. The media uproar in response to its controversial lyrical content has obscured hip hop's revolution of poetic craft and experience: Only in rap music can the beat of a song render poetic meter audible, allowing an MC's wordplay to move a club-full of eager listeners. Examining rap history's most memorable lyricists and their inimitable techniques, literary scholar Adam Bradley argues that we must understand rap as poetry or miss the vanguard of poetry today. Book of Rhymes explores America's least understood poets, unpacking their surprisingly complex craft, and according rap poetry the respect it deserves.
Bounce: Rap Music and Local Identity in New Orleans.
Publication Date: 2012-05-01
Description:Over the course of the twentieth century, African Americans in New Orleans helped define the genres of jazz, rhythm and blues, soul, and funk. In recent decades, younger generations of New Orleanians have created a rich and dynamic local rap scene, which has revolved around a dance-oriented style called'bounce.'Hip-hop has been the latest conduit for a'New Orleans sound'that lies at the heart of many of the city's best-known contributions to earlier popular music genres. Bounce, while globally connected and constantly evolving, reflects an enduring cultural continuity that reaches back and builds on the city's rich musical and cultural traditions.In this book, the popular music scholar and filmmaker Matt Miller explores the ways in which participants in New Orleans's hip-hop scene have collectively established, contested, and revised a distinctive style of rap that exists at the intersection of deeply rooted vernacular music traditions and the modern, globalized economy of commercial popular music. Like other forms of grassroots expressive culture in the city, New Orleans rap is a site of intense aesthetic and economic competition that reflects the creativity and resilience of the city's poor and working-class African Americans..
Close to the Edge: In Search of the Global Hip Hop Generation
Publication Date: 2011-01-01
At its rhythmic, beating heart this book asks whether Hip Hop can change the world. Hip Hop OCo rapping, rhyming, b-boying, d-jaying, graffiti - captured the imagination of the teenage Sujatha Fernandes in the Sydney suburbs in the 1990s, inspiring her and politicising her along the way. Armed with mc-ing skills, academic credentials and an urge to immerse herself in global hip hop, she launches on a journey into street culture around the world. From the ghettos of Chicago to the barrios of Caracas and Havana and the sprawling suburbs of Sydney, she grapples with questions of global voices and local critiques, and the rage that underlies both. An engrossing read and an exhilarating global ride, this punchy book also asks hard questions about dispossession, racism, poverty and the hope for change through a microphone.
From Grassroots to Comercialization: Hip Hop and Rap Music in the USA
Publication Date: 2014-04-01
In the past three decades hip hop has developed from an underground movement in one of New York City's poorest boroughs, the Bronx, to a worldwide multi-billion-dollar industry.Nowadays one could not imagine chart shows, discos or house-parties without rap music. According to Guthrie P. Ramsey, Jr., rap music, which belongs under the cultural umbrella called hip hop, 'is virtually everywhere: television, radio, film, magazines, art galleries, and in 'underground' culture'. In this work Karl Kovacs will examine the reasons for hip hop's international success, the dangers of it, and the motivations rappers had and still have to pursue their art. It is yet to be answered if the success of this form of art has been a blessing or a curse for its performers and their audience, the so-called hip hop generation.
Hip Hop Africa : New African Music in a Globalizing World.
Publication Date: 2012-10-23
Hip Hop Africa explores a new generation of Africans who are not only consumers of global musical currents, but also active and creative participants. Eric Charry and an international group of contributors look carefully at youth culture and the explosion of hip hop in Africa, the embrace of other contemporary genres, including reggae, ragga, and gospel music, and the continued vitality of drumming. Covering Senegal, Mali, C#65533;te d'Ivoire, Ghana, Nigeria, Kenya, Tanzania, Malawi, and South Africa, this volume offers unique perspectives on the presence and development of hip hop and other music in Africa and their place in global music culture.
Hip Hop Matters
Publication Date: 2006-08-01
Avoiding the easy definitions and caricatures that tend to celebrate or condemn the "hip hop generation," Hip Hop Matters focuses on fierce and far-reaching battles being waged in politics, pop culture, and academe to assert control over the movement. At stake, Watkins argues, is the impact hip hop has on the lives of the young people who live and breathe the culture. He presents incisive analysis of the corporate takeover of hip hop and the rampant misogyny that undermines the movement's progressive claims. Ultimately, we see how hip hop struggles reverberate in the larger world: global media consolidation; racial and demographic flux; generational cleavages; the reinvention of the pop music industry; and the ongoing struggle to enrich the lives of ordinary youth.
Hip Hop's Amnesia: From Blues and the Black Women's Club Movement to Rap and the Hip Hop Movement.
Publication Date: 2012-04-15
In Hip Hop’s Amnesia, Rabaka offers a comprehensive analysis of the forgotten historical legacy of hip hop music, culture, and politics. Some say hip hop is more than music -Rabaka proves it. Others point to hip hop as the latest in the lineage of African American expressive forms -Hip Hop’s Amnesia details it. Insisting on placing African American music, from the blues to hip hop, within its broader context, Rabaka deftly illustrates the interplay of music, culture, and politics while paying close attention to the politics of class, gender, and sexuality in inter- and intra-racial relations. If we need to know where we’re from in order to know where we’re at, then Rabaka is an important narrator in this process.
How to Rap 2: Advanced Flow and Delivery Techniques
Publication Date: 2013-09-01
This sequel to How to Rap breaks down and examines techniques that have not previously been explained—such as triplets, flams, lazy tails, and breaking rhyme patterns. Based on interviews with hip-hop’s most innovative artists and groups, including Tech N9ne, Crooked I, Pharcyde, Das EFX, Del the Funky Homosapien, and Big Daddy Kane, this book takes you through the intricacies of rhythm, rhyme, and vocal delivery, delving into the art form in unprecedented detail. It is a must-read for MCs looking to take their craft to the next level, as well as anyone fascinated by rapping and its complexity.
How to Rap : The Art and Science of the Hip-Hop MC
Publication Date: 2009-12-01
Examining the dynamics of hip-hop from every region and in every form -- mainstream and underground, current and classic -- this compelling how-to discusses everything from content and flow to rhythm and delivery in relation to the art and craft of rap. Compiled from the most extensive research on rapping to date, this first-of-its-kind guide delivers countless candid and exclusive insights from more than 100 of the most critically acclaimed artists in hip-hop -- including Clipse, Cypress Hill, Nelly, Public Enemy, Remy Ma, Schoolly D, A Tribe Called Quest, and will.i.am -- unravelling the stories behind their art and preserving a wealth of the genre's history through the words of the legends themselves. Exhaustively detailing the many complex aspects of rapping -- such as utilising literary tools and devices to strengthen content, battling, imagery, similes, metaphors, analogies, slang, performing both live and in the studio, word play, controversial content and punchlines, and constructing beats, singles, and free-styling -- with emphasis on enunciating and breathing for unique vocal style, this remarkable book will benefit beginners and pros alike with its limitless wealth of rapping lore and insight.
I Am Hip-Hop: Conversations on the Music and Culture
Publication Date: 2011-04-01
"What is Hip-Hop?" In order to answer this question, author Andrew J. Rausch interviewed 24 individuals whose creative expressions are intimately associated with the world of hip-hop music and culture. Those interviewed include emcees, DJs, producers, graffiti artists, poets, and journalists. Topics of these conversations cover the careers of each of these people and their contributions/affiliations with hip-hop, as well as their views on different trends within the music. Intended as a celebration of hip-hop music and culture, this collection of interviews ranges from the up-and-coming (Akrobatik, Rob Kelly) to the legendary (Chuck D, Big Daddy Kane). Also interviewed are Eric B., Black Sheep Dres, Chip Fu, Michael Cirelli, Daddy-O, DJ JS-1, dream hampton, Kokane, Kool Keith, Kool Rock Ski, Keith Murray, 9th Wonder, Paradime, R.A. the Rugged Man, Sadat X, Shock G, Special Ed, Spinderella, Sticky Fingaz, and Young MC. Because many of these artists worked and performed in the so-called "golden age" of hip-hop, they offer insights on the merits and problems of what hip-hop has grown into today. From their candid observations, the reader will understand how each of these men and women have contributed to the culture and how each, in his or her own way, can rightly answer "I AM hip-hop."
Icons of Hip Hop: An Encyclopedia of the Movement, Music, and Culture
Publication Date: 2007-05-30
The extraordinary impact of hip-hop music on American culture over the past three decades is undeniable. At the forefront of this global phenomenon stand artists who broke new ground, both musically and politically. This unique reference provides substantial entries on the most revolutionary hip-hop artists and innovators, past and present, and offers in-depth coverage of each icon's influence in shaping hip-hop music. An essential reference for high school and public libraries, this encyclopedia will help students and interested readers uncover the historical and cultural framework of hip-hop as it extends to more recent artists. From Run DMC, the legendary group credited with bringing rap to the mainstream, to Salt N Pepa, the first all-female groups to stake their claim in the male dominated world of hip-hop, to Kanye West's breakout career as a producer and rapper, this encyclopedia recovers the histories of important artists both inside and outside the hip-hop mainstream, all while examining the varied and ever-changing forms of the music. Comprehensive profiles are enhanced by sidebars highlighting such topics as rivalries between artists, the importance of geographic region, musical innovations (including sampling technologies), legal issues, media scandals, and wider phenomena, movements, or styles of hip-hop that were sparked by a particular artist or group. Hip-hop fans will appreciate the critical analysis of the icons' social and cultural impact as well as issues of enduring significance, such as the influence of gangsta rap on youth culture. A timeline, a comprehensive introduction, numerous photos, and an extensive bibliography of print and electronic sources for further reading are included, making this encyclopedia a crucial reference for teachers and students interested in understanding the history and future of hip-hop music.
Know What I Mean?: Reflections on Hip-Hop
Publication Date: 2010-06-22
Whether along race, class, or generational lines, hip-hop music has been a source of controversy since the beats got too big and the voices too loud for the block parties that spawned them. America has condemned and commended this music and the culture that inspires it. Dubbed "the Hip-Hop Intellectual” by critics and fans for his pioneering explorations of rap music in the academy and beyond, Michael Eric Dyson tackles the most compelling and controversial dimensions of hip-hop culture. Know What I Mean? addresses the creative expression of degraded youth; the vexed gender relations that have made rap music a lightning rod for pundits; the commercial explosion that has made an art form a victim of its success; and the political elements that have been submerged in the most popular form of hip hops.
Making Beats: The Art of Sample-Based Hip-Hop.
Publication Date: 2014-11-20
Based on ten years of research among hip-hop producers, Making Beats was the first work of scholarship to explore the goals, methods, and values of a surprisingly insular community. Focusing on a variety of subjects—from hip-hop artists’ pedagogical methods to the Afrodiasporic roots of the sampling process to the social significance of “digging” for rare records—Joseph G. Schloss examines the way hip-hop artists have managed to create a form of expression that reflects their creative aspirations, moral beliefs, political values, and cultural realities. This second edition of the book includes a new foreword by Jeff Chang and a new afterword by the author.
Noise and Spirit : The Religious and Spiritual Sensibilities of Rap Music.
Publication Date: 2003-11-01
Rap music is often seen as a Black secular response to pressing issues of our time. Yet, like spirituals, the blues, and gospel music, rap has deep connections to African American religious traditions. Noise and Spirit explores the diverse religious dimensions of rap stemming from Islam (including the Nation of Islam and Five Percent Nation), Rastafarianism, and Humanism, as well as Christianity. The volume examines rap’s dialogue with religious traditions, from the ways in which Islamic rap music is used as a method of religious and political instruction to the uses of both the blues and Black women’s rap for considering the distinction between God and the Devil. The first section explores rap’s association with more easily recognizable religious traditions and communities such as Christianity and Islam. The next presents discussions of rap and important spiritual considerations, including on the topic of death. The final unit wrestles with ways to theologize about the relationship between the sacred and the profane in rap.
Political Melodies in the Pews? : The Voice of the Black Christian Rapper in the Twenty-first-Century Church.
Publication Date: 2012-09-27
In this fascinating study of contemporary Christian worshippers, David L. Moody analyzes Christian rap music against traditional Christian theology. For many, mixing the sanctified worship of God with music originating from unconsecrated avenues has become difficult to accept. From the back alleys and streets of the hood to the club scene of urban America, Christian rappers walk to a different beat than the preacher at the pulpit. However, similar to a street evangelist, the Black Christian rapper is about singing praise to God and delivering the gospel message to his lost homies on the streets. Moody examines the emergence of hip hop based ministries and their place among youth with the Black community."
Rhythm and Blues, Rap, and Hip-Hop
Publication Date: 2005-11-01
American popular music reflects a rich cultural diversity. From Aaron Copland to Miles Davis to Elvis Presley to Muddy Waters, the United States has produced some of the most influential and beloved musicians and performers of the 20th century. The blues, jazz, and rock and roll - musical genres loved around the world - were born here, and American composers, producers, singers, and songwriters have crafted a unique heritage in other genres such as classical and folk. ""American Popular Music"", a new eight-volume set, celebrates American music by presenting a wealth of information on seven major musical branches. Each comprehensive book provides the perfect, one-stop starting point for research in each musical field. Between 300 and 500 entries in each volume cover key personalities, landmark performances and recordings, hit songs and experimental compositions, important publications, musical instruments, styles of music, social and historical issues, organizations and schools, record companies, and much more. Together, the volumes comprise a panoramic depiction of American music and the influential threads that weave among the different musical genres. Written by experts for students and enthusiasts, ""American Popular Music"" is an essential resource for the study and appreciation of American music. A seven-member editorial board of expert advisers includes top academics who are also performing musicians, producers, and songwriters, including a Grammy nominee and an internationally recognized composer. Each book includes 40 to 60 photographs, a glossary, a discography of recommended listening, a chronology, and an index. The eighth volume, included for free with the purchase of the complete seven-volume set, is a comprehensive index that allows readers to easily locate musical terms, musicians, songs, and more throughout the entire set, ""American Popular Music"" is a must-have resource not only for students researching music but also for those interested in social movements, cultural history, geography, technology, the growth of broadcast and recorded media, ethnography and anthropology, and many other topics.
The Anthology of Rap
Publication Date: 2010-11-09
From the school yards of the South Bronx to the tops of the Billboard charts, rap has emerged as one of the most influential musical and cultural forces of our time. In The Anthology of Rap, editors Adam Bradley and Andrew DuBois explore rap as a literary form, demonstrating that rap is also a wide-reaching and vital poetic tradition born of beats and rhymes. This pioneering anthology brings together more than three hundred rap and hip-hop lyrics written over thirty years, from the "old school" to the "golden age" to the present day. Rather than aim for encyclopedic coverage, Bradley and DuBois render through examples the richness and diversity of rap's poetic tradition. They feature both classic lyrics that helped define the genre, including Grandmaster Flash & the Furious Five's "The Message" and Eric B. & Rakim's "Microphone Fiend," as well as lesser-known gems like Blackalicious's "Alphabet Aerobics" and Jean Grae's "Hater's Anthem." Both a fan's guide and a resource for the uninitiated, The Anthology of Rap showcases the inventiveness and vitality of rap's lyrical art. The volume also features an overview of rap poetics and the forces that shaped each period in rap's historical development, as well as a foreword by Henry Louis Gates, Jr., and afterwords by Chuck D and Common. Enter the Anthology to experience the full range of rap's artistry and discover a rich poetic tradition hiding in plain sight.
The Chican@ Hip Hop Nation: Politics of a New Millennial Mestizaje.
Publication Date: 2013-11-01
The population of Mexican-origin peoples in the United States is a diverse one, as reflected by age, class, gender, sexuality, and religion. Far from antiquated concepts of mestizaje, recent scholarship has shown that Mexican@/Chican@ culture is a mixture of indigenous, African, and Spanish and other European peoples and cultures. No one reflects this rich blend of cultures better than Chican@ rappers, whose lyrics and iconography can help to deepen our understanding of what it means to be Chican@ or Mexican@ today. While some identify as Mexican mestizos, others identify as indigenous people or base their identities on their class and racial/ethnic makeup. No less significant is the intimate level of contact between Chican@s and black Americans. Via a firm theoretical foundation, Pancho McFarland explores the language and ethos of Chican@/Mexican@ hip hop and sheds new light on three distinct identities reflected in the music: indigenous/Mexica, Mexican nationalist/immigrant, and street hopper. With particular attention to the intersection of black and Chicano cultures, the author places exciting recent developments in music forms within the context of progressive social change, social justice, identity, and a new transnational, polycultural America.
The Languages of Global Hip Hop
Publication Date: 2012-04-26
In the case of hip-hop, the forces of top-down corporatization and bottom-up globalization are inextricably woven. This volume takes the view that hip-hop should not be viewed with this dichotomous dynamic in mind and that this dynamic does not arise solely outside of the continental US. Close analysis of the facts reveals a much more complex situation in which market pressures, local (musical) traditions, linguistic and semiotic intelligibility, as well as each country's particular historico-political past conspire to yield new hybrid expressive genres. This exciting collection looks at linguistic, cultural and economic aspects of hip-hop in parallel and showcases a global scope. It engages with questions of code-switching, code-mixing, the minority language/regional dialect vs. standard dynamic, the discourse of political resistance, immigrant ideologies, youth and new language varieties and will be essential reading for graduates and researchers in sociolinguistics and discourse analysis.
Wake Up: Hip-Hop, Christianity, and the Black Church
Publication Date: 2011-06-01
First an expression of black urban youth, Hip Hop music continues to expand as a cultural expression of youth and, now, young adults more generally. As a cultural phenomenon, it has even become integral to the worship experience of a growing number of churches who are reaching out to these groups. This includes not just African American churches but churches of all ethnic groups. Once seen as advocating violence, Hip Hop can be the Church's agent of salvation and praise to transform society and reach youth and young adults in greater numbers. After looking at Hip Hop's socio-historical context including its African roots, Wake Up shows how Hip Hop has come to embody the worldview of growing numbers of youth and young adults in today's church. The authors make the case that Hip Hop represents the angst and hope of many youth and young adults and that by examining the inherent religious themes embedded in the music, the church can help shape the culture of hip-hop by changing its own forms of preaching and worship so that it can more effectively offer a message of repentance and liberation.